The series 'Bärenreiter?s Concert Pieces' presents a new edition of Allegro in G by Joseph-Hector Fiocco.All editions contain a solo violin part and a piano part for the piano accompanist. The series is edited by Kurt Sassmannshaus the internationally-renowned violin teacher and co-author of the Sassmannshaus violin school tradition. His forewords introduce these little gems and include tips for successful first concerts. These editions form an ideal continuation of the Sassmannshaus violin school tradition and can be used in parallel from the third volume onwards or alongside any violin method. The series will be continued andwill introduce students to more demanding repertoire with a gradually increasing level of difficulty.

Born in Brussels in 1703 the Baroque composer Joseph-Hector Fiocco is perhaps best known for his Lamentations Du Jeudi Saint a Missa solemnis and Pièces de Clavecin. Here is Fiocco’s Allegro in G Major for Violin with Keyboard accompaniment. This joyful allegro perfectly captures the spirit of celebration making it an excellent recital piece for the late intermediate-advanced level violinist.  

Version for Violin-Schumann Adagio & Allegro Op70 Vln Version (Herttrich) Pf/Vln Urtxt Pb

Du répertoire tous styles pour violon, permettant de passer du jazz à la variété, de la variété au classique, en passant par les airs traditionnels du monde entier ou la musique de film. Chaque pièce est accompagnée de commentaires techniques, biographiques et historiques. Sont jointes à ce recueil les parties séparées pour piano pour tous les morceaux. Livre + CD Autres volumes disponibles dans la collection : 1A. Existe aussi pour le saxophone, la clarinette, le piano, la flûte traversière, la guitare et l'accordéon. Largo, Valse,Que sera, sera, Giboulées de mars, Ave Maria, Smile, La maison près de la fontaine, Unchained melody, Ti guardero nel cuore, Gigue, La petite fille de la mer, Nice’n easy, Don’t cry for me Argentina, Smoke gets in your eyes, Allegro, La liste de Schindler, Tico-Tico, S’il suffisait d’aimer, Salsarama, Moment musical, Chant d’automne, Une belle histoire

1-4 Allegro5-8 Adagio molto espressivo9-12 Scherzo (Allegro molto)13-16 Rondo (Allegro ma non troppo)

Instrumentation: Vln—Pf(Vc/VdG ad lib) Editor: Burrows Format: Sheet Music Details: Sonatas in F major, D major, G minor, F major; Sonata à cinque in Bb; Allegro in C minor; Sonatina from 'Il trionfo del tempo'; Sonata Movement in A minor; Fantasia in A; Allegro in G for solo violin Contents: ...there's quite a bit of question as to what exactly constitutes Handel's violin sonatas....Editor Donald Burrows feels that, because of range and style, some of these suspect works also were intended as violin sonatas....The advantage of the newly reprinted Peters edition is that there are more pieces to choose from, the music is clear and easy to read, the page turns considerate, and the keyboard realization simple, but effective.--Sarah Freiberg, for STRINGS (September 2010)

Sonatina In G Op.100 was written in New York in 1893. Scored for Violin and Piano it comprises four movements: Allegro Risoluto - Larghetto (Indian Lament) - Scherzo and Trio: Molto Vivace - Finale:Allegro. It was intended for the composer’s children making the simple melodic lines and unadorned harmonies an accessible favourite of many young violinists. A delightful and rewarding piece it is perfect for any recital.Antonin Dvorak (1841-1904) was best known for his New World Symphony composed in the short time he spent in America the rest of his career was spent in his native Bohemia and the rest of Europe.

2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.

First scholarly-critical edition of this work.Variants from the Orchestral version shown in the Violin part.This virtuoso work based on the Cuban Habanera rhythm was composed in 1887 and is a part of standard concert repertoire. Following Christine Baur?s highly successful Bärenreiter Urtext edition of Saint Saens? ?Allegro appassionato? (BA 9047) the editor now presents the ?Havanaise? in the version for Violin and Piano.This first-ever critical edi tion of ?Havanaise? draws on both the composer?s autograph version for Violin and Piano as well as the later orchestrated version. Where the solo part of theorchestral version differs from the version for Violin and Piano the variants are shown in the Violin part as ossias.The editor offers a concise and informative introduction (Eng/Ger/ Fr) on the history and compositional process of ?Havanaise?; a detailed critical commentary (Eng) concludes this Urtext edition.

Five Pieces for Violin and Orchestra was commissioned by Frederick Grinke and completed on 20 December 1961. The BBC Symphony Orchestra with Frederick Grinke (violin) and conducted by the composer gave the first performanceon 31 July 1962 at the Royal Albert Hall London during the BBC Proms season.This work is so constructed that each piece is complete in itself and can be played separately while at the same time the whole set of fiveconstitutes a structural unit. A basic motif consisting of a rising semitone followed by a falling tone and its inversion plays an important part in every piece. Thus the first piece which is of a slow and meditativecharacter begins with this theme in the bass. It is also heard in the first entry of the solo part and thereafter every episode is in some way derived from it. The next piece a vigorous and strongly marked ‘allegro’ uses thesemitone of the original figure as its starting point. A second theme appears first on the horns and is later taken up by the solo violin while a third section has the initial idea as its accompaniment. Next comes an extendedscherzo in free form very closely based on initial motif. The fourth is a purely melodic piece containing allusions in its middle section to the basic figure. Here the strings only are used for accompaniment. In the firstsection violas and cellos are divided in the middle section and all the strings are used in the last which is otherwise an almost exact repetition of the opening. The Finale is a lighter movement than the others concernedmainly with giving the soloist material for display but not unconnected with what has gone before.

The Sonatina In E Major For Violin And Piano (Op. 80) was composed in 1915 and first published in 1921. It is written in three movements: Lento - Allegro; Andantino; Lento - Allegretto - Vivace. Although it is one of the composer’s later works it is written in an early style and recalls his childhood memories. Jean Sibelius (1865-1957) was a violinist and composer of the Nationalist school. He remains the leading cultural icon of his native Finland having become the musical and artistic figurehead of the Finnish independence movement during his lifetime. He is best remembered for his symphonic poem Finlandia and alsohis seven symphonies.

Score and part for Violin and Piano. Allegro Andante and Rondo: Allegretto Grazioso.